Carol Prusa – Bluerider ART

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Carol Prusa (USA, b.1956), a graduate of Drake University with a Master degree in painting, currently resides and works in North Carolina, USA. Prusa inherits the silverpoint drawing technique from the Renaissance period, delving into astrophysics to interpret the chaotic interactions of cosmic evolution. Through the meticulous and refined grayscale of silverpoint, Prusa intricately incorporates sculpture forms, portraying the beauty of cosmic anomalies, and has gained recognition for her unique artistic expression. She has received the SECAC Artistic Achievement Award and has been invited to exhibit at the prestigious American Academy of Arts and Letters. Her works are featured in several silverpoint history books, permanently housed in over a dozen museums across the United States, including the Perez Museum of Art in Miami, the Museum of Arts and Design in New York, and the Telfair Museums. She has held major solo exhibitions at various institutions, including the Boca Raton Museum of Art and the Norton Museum of Art.

Science and art intersect in Prusa's work. She states, " I seek to communicate what cannot be seen but felt, the vibrations that are part of us all, including echoes from billions of years ago. Like scientists, I seek new ways to explain our place and manifest the most complete understanding of our world." Fascinated by the "Big Bang" theory at the age of ten, Prusa avidly studied microbiology, pathology, mathematics, and astrophysics, pondering why things are so complex and overwhelming, yet our breathing feels natural, simple, and calm. While seeking answers in science, she found that through metaphor and poetry, combined with the beauty of art and vision, she could find greater satisfaction. She views science and art as a way to understand one's place in the universe. Prusa's recent research includes astronomical cosmogenesis and theories of the origin and evolution of life, incorporating concepts such as "Strange Attractors" and "Friedmann Equations" into her artistic transformation. Unlike the Friedmann Equations, her works are filled with hope and possibilities, challenging the notion that Friedmann only describe the universe's physical laws. Her creations visualize what it feels like to live within these matrices of ideas, portraying the joy of breathing amid chaos, where seemingly random events ultimately lead to encounters akin to poetry, just like strange attractors. Life is strange, surprising, complex, beautiful, chaotic, non-random yet resilient, and constantly interacts with chaos.

Silverpoint Drawing: Flourishing during the Renaissance, this ancient technique was favored by masters such as Leonardo da Vinci and Raphael for its delicate portrayal. Prusa was inspired by the paintings in Renaissance domed churches and began immersing herself in silverpoint drawing, merging her fascination with astronomy, natural sciences, and the mysteries of the universe. Prusa combines the ancient silverpoint technique with contemporary media such as sculpting resin, fiberglass, metal foils, and even LED lights, allowing us to imagine the chaos of the universe's origin. Depending on the complexity and scale of her creations, a single piece may take thousands of hours to complete. Initially focusing on hemispherical forms, she gradually mastered the 360-degree sphere and recently transitioned to innovative flat artworks. Every piece symbolizes the intersection of the known and unknown, with balanced and repetitive geometric statements reflecting the logic of the universe's rotation. American art critic Margherita Dessanay commented, " Carol Prusa uses art to investigate “the boundless wonders of the universe” , and creates a new vision of the powers of the universe in each artwork she makes."

In 2024, Bluerider ART Shanghai·The Bund presents the groundbreaking exhibition "Carol Prusa: Strange Attractors," the first solo exhibition of Prusa in China, showcasing up to 15 new artworks ranging from semi-spherical to flat compositions. The highlight of the exhibition is a nine-meter-long scroll painting titled "Strange Attractors", depicting a person's chakra or energy lines flowing outward. On the reverse side of the scroll, the artist's poetry discusses the sensation of being alive and the Friedman Equations, conveying the chaotic interactions of cosmic evolution and the awe of human existence. Another series of work "Unknowing" consists of four works, from "Rupture a World", which describes the singularity that first sparked our possibility to exist, to "Particles Have No Purpose", the emergence of atoms and molecules that against all odds, resulted in life, and "Tubes of Erotic Concentration", the opening of our own universe and galaxy where we are currently located in the local cluster. The fourth panel "Decoherency of Probability" represents the future and suggests that after expansion we may bounce back and rebound in another Big Bang, or not. Prusa combines these elegant scientific equations with her own artistic paintings, contributing to her core concept of "Theory of Everything." Additionally, her latest creation is a handmade accordion-fold art book titled "Strange Attractors," which unfolds into a two-meter scroll when hung on the wall. The graceful artistic totems create a bridge for the audience to enter her world, showcasing the beauty and interconnectedness felt during breathing and painting, amidst controversial cosmological concepts, as beautifully articulated by Mary Oliver in "Upstream": "Its (arts) concern is the edge, and the making of a form out of the formlessness that is beyond the edge."

Carol Prusa “Silver Linings” Solo Exhibition, Polk Museum of Art, Florida

Boca Raton Museum of Art

Education

1985 Master of Fine Arts, Drake University, Des Moines, Iowa
1980 Bachelor of Science, University of Illinois Medical Center, Urbana, Illinois

Academic Employment

2021- Professor Emeritus
1999-2021 Florida AtlanPc University, Boca Raton, Florida, Professor Visual Arts
1986-1998 Iowa State University, Ames, Iowa, Assistant Professor Visual Arts

Selected Solo and Curated Exhibitions

2025 Strange Attractors, Bluerider ART, London, UK
2024 Strange Attractors, Bluerider ART, Shanghai, China
2024 Southeast Contemporary,Museum of Arts and Sciences in Macon, GA
2024 Golden Invitational, Golden Foundation, New Berlin, New York
2024 Florida Prize, Orlando Museum of Art, Orlando, Florida
2024 Disrupting the Grid, Gentler International Drawing Space, Red Hook, New York
2023 Homeland Universe, Bluerider ART, London
2023 Bookbound, Hollywood Art and Culture Center, Hollywood, FL
2022 Porous Boundaires, the Schmidt Gallery, Florida Atlantic University, Boca Raton, FL
2022 Body Parts, Foster Gallery, University of Wisconsin – Eau Claire
2021 Mental Space, Bluerider ART, Shanghai
2021 Tenacity, 5-person exhibition, Chautauqua Institution, New York
2021 Unknowing, Ann Norton Sculpture Garden and Museum, Palm Beach
2020 Many Moons, Manifest Prize solo exhibition, Manifest Gallery, Cincinnati, OH
2020 Spooky Action, Bluerider ART Gallery, Taipei, Taiwan
2020 Ossuary, Milwaukee Institute of Art and Design (MIAD), Milwaukee, WI
2019 DarkLight, Boca Raton Museum of Art, Florida, USA
2019 Scale the Wall, presented large-scale projection installation “Folded Worlds” in a three person show at the Sonshan Creative and Cultural park, Taipei, Taiwan – sponsored by Bluerider ART
2018 Carol Prusa – Silverpoint Drawing, Bluerider ART Gallery, Taipei, Taiwan
2018 Dark Energy, Endicott College, Massachusetts, USA
2018 The Future of Craft Part I, Museum of Arts and Design, Columbus Circle, NYC
2018 FLAT???, Kentler International Drawing Space, Red Hook, NYC
2018 Feminine, Alan Avery Art, Atlanta, Georgia
2018 Silver Lining; Contemporary Works in Silverpoint, Lauren Rogers Museum of Art, Mississippi, USA
2017 Liminal Worlds, Messiah College, Pennsylvania, USA
2017 Voids, Walls, Clusters, Filaments, Le Salon Vert, Geneva, Switzerland
2017 Thin Spaces, Art Center Sarasota, Florida, USA
2017 Glasstress, Boca Raton Museum of Art, Florida, USA
2017 Looking Back, Cornell Art Museum, Florida, USA
2016 Infinite Cosmos, Bluerider ART Gallery, Taipei, Taiwan
2016 Cornell Art Museum, Florida, USA
2016 All Florida Invitational, Boca Raton Museum of Art, Florida, USA
2016 Destinesia, Stephen Romano Gallery, Brooklyn, New York, USA
2016 Worlds, Bascomb Museum, Western North Carolina, USA
2015 Overflow, Kostuik Gallery, Vancouver, Canada
2015 University of North Carolina, North Carolina, USA
2015 Unfathomable, Alan Avery Gallery, Georgia, USA
2015 Metalpoint, Morris Graves Museum, USA
2015 Illuminations (Curated by Adriana Herrera), Miami Biennale, Miami, Florida, USA
2015 Invitational Exhibition, American Academy, New York, USA
2015 Crossing the Lines, Garrison Art Center, Garrison, New York, USA
2015 Art in the Natural World and Cultured Settings (Curated by Bernice Steinbaum), Miami, USA
2014 Silver Universe, Bluerider ART Gallery, Taipei, Taiwan
2014 Entanglement, Sarasota Art Center, Florida, USA
2014 Fearful Symmetry, Florida Atlantic University, Zadok Gallery, Miami, USA
2014 Mixed Matrix, Tinney Contemporary, Tennessee, USA
2014 Collectors and their Collections, Jewish Museum, Miami, USA
2014 Kohler 40th Anniversary Artist in Industry Exhibition, Kohler Art Center, Wisconsin, USA
2014 Selected Artists, Frost Art Museum, Florida International University, Florida, USA
2013 Emergent Worlds, University of Wyoming Art Museum, Wyoming, USA
2013 Liminal Worlds, York College, Pennsylvania, USA
2013 Curator Selections, Hunter Museum of American Art, Tennessee, USA
2013 GRAM Selects, Grand Rapids Museum of Art, Michigan, USA
2012 Emergent Worlds, Urban Institute of Contemporary Art, Michigan, USA
2012 Optic Nerve, Kohler Art Center, Wisconsin, USA
2012 Non-equilibrium, University of Arkansas, Arkansas, USA
2012 Empire of Things, University Kansas, Spencer Museum of Art, Kansas, USA
2012 Modern and Contemporary Art from the Telfair, Telfair Art Museum, Jepson Center’s Steward Gallery, Georgia, USA
2012 Woman to Woman, Bakehouse Art Center, Miami, USA
2011 Believe it or Not, Dunedin Fine Art Center, Florida, USA
2010 Between Here and There: Contemporary Art from the Permanent Collection (Curated by Peter Boswell, Senior Curator), Miami Art Museum, Miami, USA
2010 Cosmic Fabric, EO Art Lab, Connecticut, USA
2009 Successive Approximations, University of Maine Museum of Art, Maine, USA
2009 Silver Linings, Polk Museum of Art, Florida, USA
2008 Spooky Action, Finestra Artspace, Chicago, USA
2007 Coherent Structures, Museum of Contemporary Art, Florida, USA

Public Collections

Arkansas Arts Center, Arkansas, USA
Appalachian State University, Catherine Smith Gallery, North Carolina, USA
Bienes Center for the Literary Art, Broward County Library, Florida, USA
Central Missouri State University, President’s Gallery, Missouri, USA
Daum Museum of Contemporary Art, Missouri, USA
Drake University, Harmon Fine Arts Center, Iowa, USA
Emaar Hospitality Group, Dubai, UAE
Evansville Museum of Art and Science, Indiana, USA
Florida Atlantic University, Florida, USA
Hunter Museum of American Art, Tennessee, USA
Iowa State University, College of Family and Consumer Sciences, Iowa, USA
Iowa State University, Margaret Sloss Women’s Center, Iowa, USA
Iowa State University, Memorial Union, Iowa, USA
Kohler Art Center, Wisconsin, USA
Kohler Company, Wisconsin, USA
Messiah College, Pennsylvania, USA
Miami Art Museum, Florida, USA
Museum of Arts and Design, New York, USA
Museum of Art, Fort Lauderdale, USA
Pérez Art Museum Miami (PAMM), Florida, USA
Polk Museum of Art, Florida, USA
Telfair Museum, Savannah, Georgia, USA
University of Florida – Public Art, Wellness Center, Florida, USA
University of Florida – Public Art, NIMET Nanotechnology, USA
University of Kansas, Spencer Museum of Art, Kansas, USA
University of Oregon Special Collections, University Library, Oregon, USA
University of Wyoming Museum of Art, Wyoming, USA
U.S. Embassy, Managua, Nicaragua
Wartburg College, Iowa, USA

Noted Private Collections

Agnes Gund Foundation
Francie Bishop Good Collection/Girl’s Club
Time Equities Inc – Francis Greenberger Collection

Selected Honors

2024 Arts AVL – Buncombe County ArPst Support Grant ($3000)
2023 Golden FoundaPon ArPst Residency, New York
2020 Selected through peer review (20 panelists) for the Manifest Prize ($5000 award and solo show at non-profit Manifest Gallery
in CincinnaP “to reward, showcase….the most excepPonal artwork being made today”
2020 Selected for Scientific Delirium Madness; a month-long residency, public and academic forums, published blogs and articles in
LEONARDO/ISAST’s journal published by MIT Press. This unique residency is a collaborative initiative of Leonardo/The
International Society for the Arts, Sciences and Technology (ISAST) and Djerassi Resident Artists Program (6 artists and 6
scientists)
2019 Edwards Distinguished Professor in the Arts, Visiting Artist, Marshall University, Huntington, West Virginia
2019 Vermont Studio Program, Invited Visiting Artist (Dec. 2019)
2018 Nomination for USA Artist Fellowship
2017 Awarded SECAC Artistic Achievement Award at 2017 national conference, Columbus, Ohio, USA
2017 Nomination for USA Artist Fellowship
2016 Artist residency in glass at Berengo Foundation, Murano, Italy
2015 Nominated and selected for American Academy of Arts and Letters Invitational (Received purchase award for museum
collection), New York, USA
2015 Vermont Studio Program, Invited Visiting Artist/Lecturer
2014 State of Florida Artist Fellowship
2014 Southeastern College Art Conference Artist Fellowship
2013 Art OMI International Artist Residency, New York, USA
2013 Vermont Studio Program, Visiting Artist
2012 Ubertalli Award for Outstanding Artist, Palm Beach County
2012 Kohler Artist in Industry residency
2011 Scholar of the Year at the Professor rank, Florida Atlantic University
2008 South Florida Cultural Consortium Fellowship for Visual and Media Artists
2008 State of Florida Artist Fellowship
2007 Howard Foundation Fellowship, Brown University, National project award
2007 Included in: Miami Contemporary Artists, ed., Paul Clemence and Julie Davidow Foreword by Elisa Turner, Schiffer Publishing
Ltd., 2007; 288 pp.
2007 Art In State Buildings Program – public art contract for the Nanotechology Building, University of Florida – Gainesville
2005 University Undergraduate Teaching Excellence Award, FAU
2004 SECAC Artist Fellowship Award, Southeastern College Art Conference
2003 Teacher of the Year, Dorothy F. Schmidt College of Arts and Letters, FAU
2003 University Researcher of the Year, Assistant Professor Level, FAU
2003 Corporeal – Triennial Exhibition of German and American Artists curated by and exhibited at the American Museum of Arts and
Design, NYC and the Museum of Angewandte Kunst – Frankfurt
2002 State of Florida Artist Fellowship2002 South Florida Cultural Consortium Fellowship for Visual and Media Artists

新民晚報：如果宇宙是黑加白加灰，看這位女藝術家以文藝復興筆法演繹量子糾纏
目刻時光：奇異吸引子 | 卡蘿・普魯莎
Art Alpha 藝術阿爾法：藍騎士藝術Bluerider ART 上海·外灘呈現卡蘿・普魯莎中國首次個展：奇異吸引子
Canvas Rebel：Meet Carol Prusa
CNN
非池中：【量子糾纏】卡蘿·普魯沙個展
PRESTIGE：：All or Nothing 我的世界你的宇宙
yam news：量子糾纏普魯莎銀針筆繪出宇宙浩瀚
MINT：銀針探索與永恆: Carol Prusa第二次台灣個展 Infinite Cosmos
夢想誌：卡蘿．普魯沙亞洲首個展 ─ Spooky Action 量子糾纏
DFUN：量子糾纏是怎麼回事？讓藝術來解答！
中時電子報：藝術結合科學銀針筆解讀天文
BOCA：美國佛羅里達博卡拉頓藝術博物館呈現「卡蘿．普魯莎：黑暗之光」
Boca Magazine：Down to a Science
Luxe Magazine Article：Cosmic LIGHT
Palm Beach Arts Paper：Artist Prusa maps the infinite through painstaking silverpoint
THE Art Economist
SECAC Review：Carol Prusa
ARTFIX daily：Carol Prusa
New Times：Woke in Space:Boca Artist Honors Women Behind Moon Landing
NEW YORK STREET GUIDE：Cosmic Wonders by Silverpoint

“Whereof one cannot speak, thereof, one must be silent.” - Wittgenstein, Tractatus Logico-Philosophicus

When Carol Prusa started at FAU in 1999, no one could have predicted that she would become a presence on the international art scene. Her work in 1999 was that of a talented feminist painter who worked across a range of mediums to express her political and environmental convictions. During her twenty-three years at FAU, she evolved into a significant artist, acknowledged for her symbolically charged abstract works using silverpoint, an antique medium, and contemporary materials. Today her standing in the art world is evident, reflected not only in the number of international exhibitions featuring her work but also in the stature of publications that discuss it. For example, in Drawing in Silver and Gold: Leonardo to Jasper Johns, a book from the National Gallery of Art in Washington, D.C., Bruce Weber says, “One of the most innovative artists working in metalpoint today is the Florida-based Carol Prusa . . . [She] is one of a group of artists who are newly challenging our conceptions about metalpoint and who have developed original, innovative, and often extreme approaches to thinking about and utilizing the medium.”

Her artistic aims started germinating long before she consciously expressed them artistically or linguistically. As a graduate student, she saw Agnes Martin’s Milk River and responded with awe. In Martin’s painting, she saw luminosity, symmetry, and a rigor “approaching perfection.” Martin’s glimmering work undulates with light. At its center, Milk River has a square with “shimmering red lines incised in the translucent veil of white,” as Prusa puts it. It was only later that she realized she sought to achieve the same shimmer as she honed her unique visual vocabulary. One can see how silverpoint would later call to her.

Long after her graduate student days in Iowa, the enormity of 9/11 made her question whether art had any value for society or any purpose at all. She found an answer on a visit to Florence, Italy. There she was struck by the intricacy and balance of the Renaissance art of Bellini, Leonardo, and, especially, Piero della Francesco. Its divine geometry resonated in her, as she saw it as reflecting the nature of the universe or, more precisely, the multiverse. She experimented with contemporary materials and forms, aiming to illuminate the beauty and wonder of balance, harmony, and precision. Exploring old and new technologies, she ventured into silverpoint, experimenting first with small flat circular pieces that later expanded into large three-dimensional domes and spheres. By using silverpoint, which a sprinkling of artists had revived in the early twentieth century, she would come to achieve the sheen that so struck her in Milk River. Although she has worked with other mediums over her significant career, let us focus here on silverpoint, for which she has earned international acclaim.

The shimmer in Martin’s painting reflects, for Prusa, the nature of reality to the same degree that the Renaissance works do. She had found her medium to express her ultimate vision. Silverpoint, along with graphite, white pigment, metal leaf, and fiber optics, to name a few, has allowed her to achieve a subtle array of colors discernible in the undertones of silver, white, grey, and, more recently, black. She is as much a colorist as the Fauvists. She uses a visual language that is incisive, dynamic, organic, and strange. Most of her works are curvilinear and pulsating.

Before turning to her “theory of everything,” let us note that Carol Prusa’s work embraces some elements of aesthetic formalism as well as emotionalism. The Formalist philosophical theory defines art as comprised of formal properties, some of which are also artistic properties whereas the Expressive theory emphasizes communication. Because formalism separates art from everyday life, modern and contemporary formalists gravitate towards abstraction; Prusa’s work, however, retains figurative and poetic components. She creates little worlds, formed of and sustained by their own logic. Her pieces approach political and social commitments in a more metaphorical manner, as a creator of worlds, she did not completely abandon conceptual thoughts for pure abstraction; instead, she came to see art as serving nothing outside of itself. This locates art as a morally neutral, closed system that exists apart from ordinary life. Materially, her pieces feel like small, self-contained worlds interacting with each other in a universe of possibilities and, as Prusa states, embrace time and scales outside of the local, relating to another sort of reality. In this sense, the formal elements of the artworks constitute its essence. Prusa masterfully uses silverpoint to create the movement of light and shadow that allow our minds to imagine the beginning of times.

Her tour de force is unquestionably her recent limited-edition book, unknowing, which is not only a dazzling visual artwork but also incorporates a written manifesto on her theory of everything. The drawings are detailed, meticulous, and calligraphic. Her prose is beautiful and expresses her insight into the governing equations of the universe, which she hand-wrote within the drawings. She stands with mathematicians, physicists, cosmologists, philosophers, and astrophysicists, insofar as they ask profound questions about the universe, its origins, its immensity, the very fact of existence, and the relation of all things to one another.

The magical volvelle does not offer a resolution; rather, it implies the enigma one finds in facing any critical question. A volvelle is, of course,intended to be a scientific, mathematical instrument. Ironically, Prusa’s volvelles take us deeper into uncertainty. For Prusa, art is not science because it doesn’t try to explain things in the natural world. Nor is art mathematics, which uses pure reason to analyze abstract objects. The black- paged and bound book’s end opens to a white square of paper. In conversation, Prusa mentioned that ten different circular etchings were pressed into the “emptiness” of this square, suggesting new possibilities that challenge us to expand our world. The book’s silk cover is beautifully dark, beckoning us to explore a secret realm where one finds metaphysical and cosmological questions but no answers. With its darkness, the book compels us to adjust our vision and to see the luminous world anew. This latest work circles back to Milk River, where Carol saw space between thin lines evoking shimmer. For Prusa, the ever-changing, evanescentinterstices between things produce the glimmering universe arising from emptiness.

Author: Carol Steinberg Gould, Ph.D.
Carol Steinberg Gould is an esteemed professor of philosophy at Florida Atlantic University, as well as a Senior Distinguished Researcher at The Center for Future Mind in the FAU Brain Center, and a philosophical consultant. She is currently in the process of preparing a book on contemporary art.

Carol Prusa’s work bridges the realms of art and science, establishing a dialogue that probes the depths of the cosmos and the limits of scientific knowledge. With an initial training in science, Prusa’s artistic journey has been marked by a profound curiosity about the natural world and the universe's underlying structures. Her intricate and meticulously crafted pieces serve as invitations to explore spaces where art and scientific inquiry converge. For the artist, nothingness does not exist; her inquisitive nature drives her relentless pursuit of knowledge. This thirst for understanding, rooted in a childhood fascination with the celestial sphere, is tangibly rendered in her works featuring light-speckled, intricately detailed circles, pregnant domes, and luminous orbs. These orbs and circles, quintessentially feminine shapes, symbolize perfection, unity, infinity, and the cycles of nature, encapsulating both the heavens and the earth.

Prusa's artistic process is rooted in the tradition of silverpoint drawing, a meticulous and refined grayscale technique that dates back to medieval times and contributes to the symbolic depth of her work. The silverpoint method employs a silver-tipped instrument, or stylus, to draw on a surface prepared with gesso or graphite, resulting in ultra-fine, delicate line markings. Prusa's choice in using silverpoint is not merely a nod to the past, but a deliberate decision that aligns with her themes of time, impermanence, precision, and transformation. Her drawings often serve as the foundation for more complex works incorporating contemporary materials such as acrylic hemispheres, sculpted resin, fiber optics, LEDs, and video components.

At the heart of Prusa's work lies a deep fascination with cosmology and astronomy—the study of the origin and development of the universe and stars. This intellectual curiosity is reflected in her art through intricate patterns and detailed structures that echo the fundamental forms found in nature and modeled in science. Prusa's meticulous craftsmanship transforms her pieces into microcosms of the universe, prompting viewers to contemplate the interconnectedness of all things. The patterns she draws are not arbitrary; they are derived from extensive research into scientific phenomena, including cellular structures, galactic formations, and particle movement. Her works often feature biomorphic forms that resemble nebulas or embryonic tongues, creating liminal spaces that delineate the known world from the unknown. The edges of these forms mark the boundaries of her existing knowledge, while the centers symbolize the areas she seeks to understand—regions of potential discovery and intellectual exploration.

In a series of circular wall pieces, Prusa draws inspiration from her experiences witnessing total solar eclipses. Having traveled three times to witness the totality of an eclipse, she follows in the footsteps of astronomers and physicists like Maria Mitchel and Vera Rubin, early pioneers of dark matter and advocates for women in science. Prusa’s goal with this series is to capture the essence of the light emanating from the sun’s corona during the totality phase of the eclipse. Reflecting on the experience, she marvels, “The entire world is illuminated in a way that our eyes never see, bathed in silvery light. You lose your grounding.” Her sentiment forms part of a constellation of thoughts shared by great writers amongst whom Virginia Woolf, who once pondered, “How can I express the darkness? It was a sudden plunge, when one did not expect it: being at the mercy of the sky,” [1] while Emily Dickinson observed, “It sounded as if the Streets were running / And then - the Streets stood still - / Eclipse - was all we could see at the Window / And Awe - was all we could feel.”[2] This observation of eerie light and stillness is also embodied in Luna (Guardian), a work featuring a solitary tree bathed in silvery moonlight. This piece was inspired by Prusa's experience of being lost at night in a foreign country many years ago, where the moonlight and this tree became crucial wayfinding tools.

[1] Virginia Woolf, The Sun and The Fish, 1928
[2] Emily Dickinson, It sounded as if the Streets were running, 1877

Prusa's work resonates as much as it interpellates. Beyond her technical skill and artistic vision, it engages with fundamental human questions into the vastness of the cosmos and our place within the universe. By merging scientific exploration with artistic expression, Prusa crafts a unique space where one can marvel at the mysteries of existence on both an intellectual and emotional plane. Through her rigorous craftsmanship and deep curiosity, Prusa invites us to value and seek the pursuit of knowledge.

Author: Coralie Claeysen Gleyzon